This article compares two Argentine dance journals published during the post-dictatorship period: Pata de Ganso (Buenos Aires, 1986-1988) and Tiempo de Danza (Buenos Aires, 1995-2000). It examines how these journals contributed to the creation of canons, both vocational and epistemic, and analyzes the groupings that formed around them as part of Argentina’s intellectual history. A vocational canon is one to which individuals aspire or have been educated, involving personal trajectories, recommendations, and guides for good physical and nutritional conduct. An epistemic canon, on the other hand, is a normative concept that functions as a structured set of references and is sustained by institutional scaffolding. It includes references to important figures of dance, choreographic terminology, timelines, and chronologies. Criticism is another fundamental tool used in the emergence of an epistemic canon, allowing for the construction of a set of tenets regarding outstanding choreographies, their approaches, and their inscriptions. Criticism served as a privileged tool for the validation and consecration of an epistemic canon or for enabling a countercultural alternative based on vocational canons that expressed forces of power and counter-power.